Urtext = Plain Text ? – An Analysis of the Sarabande in Eb Major, Part 2 (Bar 13-24)

Britain

 
 

This is a translation of the post

Urtext = Klartext? – eine Analyse der Sarabande in Es-Dur, Teil 2 (Takt 13-24)

by Dr. Marshall Tuttle. 


Michael Bach

This is the second part of the analysis of the

Sarabande in E Flat Major

with performance examples

and the interpretations of the cello competition *)

 

For glossary and facsimile of the manuscript of Anna Magdalena Bach see Analysis Part I:
http://www.bach-bogen.de/blog/thebachupdate/urtext-plain-text-an-analysis-of-the-sarabande-in-eb-major-part-1

 


 

Sarabande Es Edition MB 004

Sarabande in Eb, Edition Michael Bach
Sheet music example mm 13-16
Slurs that are understood from the polyphony and therefore not notated by JSB are added in parentheses.

 

M 13

The beginning of the second half of the movement is linked with the tonally indeterminate open fifth at the beginning of the movement. At the same time, this fifth corresponds in a peculiar way with the preceding trill, because the two pitches represent the basic sounds of the dominnat (Bb2) and the DD (F3). On top of that, surprisingly, the note Ab3 sounds without a bass note on the 3rd beat. (In the lower part of this measure there is only a half note, Bb2. The quarter rest on the 3rd beat is missing because it is unnecessary to notate.) Thus, it is questionable whether the note Ab3 on the third beat, is to be regarded again as a seventh. Due to the fact that the two notes in the upper voice are slurred, the note Ab3 on the 3rd beat is highlighted. It is also connected to the first beat of the following measure.

M 14

The bass now does not present Eb2 and Bb2 as in m. 4, (more…)

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